From one conviction toward many lives and crafts.

In 1998, while much of the world stood beneath the uncertainty surrounding the approaching Y2K millennium, a young violinist and conductor, Ching-Po Chiang, had just returned to Taiwan after completing his studies in the United States. Together with a group of like-minded musicians, he invited them not simply to form another orchestra, but to step hand in hand into an unknown new century.

Over the next two decades, that shared journey led farther than anyone could have imagined.

They collaborated with many of the world's finest musicians. They toured across Europe and Africa. They performed in Taiwan's National Concert Hall, the National Taichung Theater, and Kaohsiung Center for the Arts (Weiwuying), as well as at Sun Moon Lake, Alishan, Taroko Gorge, and many places where concert halls did not exist, but listeners did.

Their live recordings have been selected as curriculum material by distinguished faculty at The Juilliard School. Entire concerts have been broadcast by classical radio stations across Nordic countries. Through the PMM Youth Orchestra, more than fifty young musicians have gone on to professional orchestras in Taiwan and abroad. Through the PMM Baroque Orchestra, they helped cultivate Taiwan's enlightenment in historically informed performances, contributing to a musical landscape that continues to flourish today.

But if someone were to ask us,

"What kind of orchestra is Philharmonia Moments Musicaux?"

we wouldn’t begin with any of those accomplishments.

The real answer is delightfully simple.

We believe that music should never become a commodity.

It should never dissolve into mere background.

It should never exist simply as decoration.

And it is far more than entertainment.

Music is humanity's most profound form of communication.

That is why we do not chase trends.

We do not patronize the market.

We do not place our faith in reputation alone.

Instead, we ask only one question:

Is this good music that we play?

So our responsibility is equally simple:

to perform it as truthfully and as beautifully as we possibly can.

For more than two decades, that conviction has guided everything we do.

From Bach to newly composed works.

From Baroque performance to interdisciplinary collaborations.

From theatre to international touring.

The form may change.

The question never does.

Because while art may take many different forms,

its standards should never drift.